The DJ Is a Jukebox?

Most club-goers understand (or learn the hard way) that approaching a big-name DJ mid-set with a song request is usually a futile effort. Further, some DJs (including San Francisco’s M3) have gone so far as to print t-shirts bearing the warning “No Fucking Requests Ever!”

However, the days of militant DJing may be slowly fading. A new generation of mixers is armed with laptops and digital DJ programs, as well as high-speed wireless Internet connections and music-seeking software that can find virtually any song instantly. No more claiming, “I didn’t bring that record tonight.”

This creates a dilemma–is the DJ merely a jukebox serving the pleasure of the audience, or are they artists creating unique, one-time-only mix “experiences,” which depend of the variables of their mood, preparation, and the crowd’s reaction?

To further blur the lines between DJ and audience, social music network Last.fm has teamed up with British label Ninja Tune to create a “user-generated” club night on June 2, at The Big Chill House in London.

The concept goes like this: Last.fm users going to the party will help decide the setlist for the upstairs room, DJed by Ninja Tune’s Sparky. They’ll register their intention to attend at the club’s event page on the Last.fm website, and on the night of the event, Sparky will play tracks drawn from music listened to by those users in the preceding weeks. Sparky’s user-generated set will also be recorded and made available on Last.fm for users unable to attend. A-Trak, MC Kid Sister, and Herbaliser’s Ollie Teeba will also spin music.

Imagine the dynamic for a minute: The DJ won’t be bothered with request seekers because they’ve been collected in advance, but a good portion of the music is predetermined, thus leaving little room for spontaneity or improvisation. It’s as close to a punter plugging in their iPod at a house party as you can get.

As club attendance figures sag, and partiers have more entertainment choices, could wedding- or high school dance-style playlist suggestions submitted online be the next wave in clubbing? Time will tell if this new style of clubland democracy will catch on, or go the way of the jukebox itself–a sentimental relic that once tied music requests to commerce during an explosion of teen culture.

Matthew Dear “Pom Pom”

Matthew Dear is the champion of potently poppy electro-house. Although Asa Breed is only his sophomore full-length, this Texas-bred producer has already released a mountain of singles under the several monikers (Audion, False, Jabberjaw). “Pom Pom” finds Ghostly’s flagship artist at his most dynamic and accessibly banging.

Matthew Dear – Pom Pom

Dimlite This Is Embracing

Switzerland’s Dimitri Grimm is part of a generation of post-hip-hop producers opting to paint their scattered brainwaves on a digital canvas rather than cloth. As Dimlite, Grimm explores territory familiar to fans of J Dilla, Caural or emerging talents Flying Lotus and Hudson Mohawke: bruised MPC beats sinking into quicksand synths, videogame bleeps, and other choppy rhythmic patterns. These gloriously seductive sounds mostly work on This Is Embracing, Grimm’s second full-length. The good: Collabos with L.A. chanteuse Gabby Hernandez and the evocative “The Way Blood Travels.” The bad: Too many stops, starts, and interludes, which hinder the musical momentum. But if you embrace aural ADHD, this album’s a heady drug.

Podcast: Sublight Records

Since 2004, Winnipeg, Canada’s Sublight Records has been a crucial force in the breakcore and experimental electronic stratospheres, releasing albums from bedroom maniacs Servants of the Apocalyptic Goat Rave, The Gasman, and Ebola (just listen to the names!).

In homage to the headache-inducing label and its fleet of artists, XLR8R commissioned Benn Jordan (a.k.a. The Flashbulb) to compile a mix of the scratchy, doomy, spazzed-out ‘core we’ve come to embrace over the past few years. Featuring anti-hits from the likes of Venetian Snares, Richard Devine, and Wisp, our latest podcast will rip you to shreds. Hear his mix now, exclusively at the XLR8R Podcast DJ Mix Series.

Download this podcast by subscribing to iTunes, or with an RSS reader of your choice.

Tracklisting
1. Puzzleweasel “FODHOVL”
2. Mark Swift “The Midsummers Swift”
3. Richard Devine “Arc Acid”
4. Wisp “Untethered”
5. The Flashbulb “The Sun And The Star”
6. Enduser “Interruption “1
7. Ebola “Wet T-shirt DSP”
8. Venetian Snares “Yip Yaps”
9. Belladonnakillz “The Man”
10. Datach’i “Lilian”
11. Gareth Clarke “Espirit De Corps”
12. Mr. Projectile “You Need (Cepia Mix)”
13. Synthamesk “Black Sky”
14. The Gasman “Qunce”
15. Lynx And Ram “Walls Are Melting”
16. Acrnym “Kate Says Aye”

Talib Kweli Preps Album

Now that Mos Def is a Hollywood playboy and indie hip-hoppers embrace the rugged rhymes of Lil Wayne, socially conscious, sensitive rappers have their work cut out for them. But Mos Def’s ex-partner-in-crime Talib Kweli seems up for the challenge on his forthcoming long-player Ear Drum.

Much like 2004’s The Beautiful Struggle, Ear Drum is an album made for the post-30 vegan crowd. Kweli collaborated with Grammy-winning songstress Norah Jones on the album, which (according to his press release) also boasts a “sexy new single””entitled “Hot Thing.” He’s also brought along Kanye West, Madlib, and longtime-collaborator Hi-Tek, so urban gentlemen and B-boys alike may still find fire in Kweli’s conscious doctrine.

Evidently, the Brooklyn-bred MC is on a mission to keep things simple and thematic. According to him, the album’s title stems from “the image of the ear and of the drum, which are powerful enough by themselves, but put them together and it’s an instrument in your body that helps you hear. I wanted to focus on finding a sound that makes you move, and that’s where the word ‘eardrum’ popped in my head.”

Kweli’s anatomical offering is his first release on self-owned Blacksmith Music (in conjunction with Warner Brothers, of course). But is there still hope for conscious rap? Kweli will answer your question come July.

Ear Drum is out July 24, 2007 on Blacksmith Music/Warner Brothers

Tracklisting
1. Everything Man
2. NY Weather Report
3. Hostile Gospel
4. Say Something
5. Country Cousins
6. Holy Moly
7. Eat to Live
8. In the Mood
9. Soon the New Day
10. Electrify
11. Hell
12. More or less
13. The Perfect Beat
14. Hot Thing

Alias In the Studio

Ever since crate-digging purists became indie rap’s greatest limitation, artists like Anticon’s Alias have gone far out of their way to shake up expectations. Shying away from both mainstream rap’s fascination with synth gloss and hip-hop traditionalism, Alias’ lo-fi experimentation recalls records that never existed, resulting in a dusty combination of garage production and gritty electronics.

Alias’ sound transformation didn’t happen overnight. A string of releases (beginning with 2003’s Muted) show the evolution in progress, with each release up to last year’s Brookland/Oaklyn, and his latest collection of remixes, increasing in musical ambition and instrumental range. And contrary to conventional wisdom, the results haven’t sucked. Perhaps Alias proves you can teach an old sampler dude new tricks?

XLR8R: Why did you shift towards using synthesizers?

Alias: When I first started making beats, it was all with a sampler and records–that was it. It was kind of this unspoken rule that everything had to be sampled off rare records, and it started getting really restrictive. I had done music like that for a while, and I just wanted to figure out my own sound… figure out what notes go together. So I bought a guitar and a Korg MS-2000, and just started toying around with them, figuring out chords.

Was there anyone that influenced you towards particular gear?

Dax Pierson [from Subtle] was probably the most influential person for me. [He] had all these vintage synthesizers, and he’d let me sit around and play with them. And then I went on a tour with Themselves, and Dax was on that tour, too. Listening and watching what he was doing, playing basslines, and just doing different effects and stuff made me want to start messing around with synthesizers and tweaking my own sounds.

Do you see any parallels between crate-digging and finding old synthesizers?

Definitely. There was this one time I found a Casio CZ-101 at this swap meet, and I got it for like 30 bucks. It was kinda cool; I was all excited about it, and this guy stops me and was like, “Is that a CZ-101?! Man, I’ll give you $50 for it right now!” No [laughs]. But yeah, it’s got that same “on the hunt” feel… finding that little gem in a big pile of stuff.

When you’re working with new gear, how do you get things to sound dirty?

Mainly through using compression and adding a lot of reverb. But one of the main things I use, as far as effecting, is the [Boss] SP-303. I don’t really use the sampling part of it–I use it as an effects processor. It has this “vinyl simulation” effect, which has three different knobs: one is for compression; the other two are for a warbling sound and little clicks and pops. But if you turn down those other knobs and just use the compression, it really gives this fat, warm sound. It’s really cool to run synths into that while you’re recording… It really flattens everything out and takes away that clean tinniness. I also run drums into the SP-303 sometimes to give them that 12-bit SP-1200 sound.

But you’re still using an MPC, right?

I definitely use the MPC [2000]… I use it to chop up and sequence before I record into Pro Tools. And from Pro Tools, I do the arranging and further editing. But basically, I have my turntables running into my SP-303, and the SP-303 running into my MPC. It’s kind of in the path of the turntable, so if I’m sampling drums and I want them to be fat and dirty’ can use that [SP-303] compression effect before I even sample them.

So do you just go piece-by-piece, recording each part into Pro Tools and arranging it from there?

Yeah. I used to start with the drums, but lately I’ve been doing the drums last. Because the drums are such a focal point in my music, I always want them to be really prevalent in the mix. So I’ve been kind of building basslines and melodies around a click track, and once I get a feel for how it’s going to sound”ll move on to the drums. That’s where I end up spending the most time.

You always hear people claiming they can’t make anything because they don’t have certain pieces of gear. Have you ever felt like that?

I didn’t even own my own MPC until 2001! I was always borrowing other people’s MPCs or bringing records over to people’s houses. I was never like, “My shit sucks because I don’t have my own equipment…” I really think you just have to make do with whatever you can get your hands on.

The Week In Tours

We know Coachella wore everyone out like a 27-year-old reliving a Cancun spring-break vacation, but whatever. The sun is shining, birds are chirping, and bands are slaying. Take it easy over the next few weeks and prepare for the live devastation headed your way.

Carpark’s dreamiest pop duo Beach House is trekking across the states to soothe the wounds of summer’s start. The manic post-punk outfit Attractive and Popular is going to make the South rise again with its unabashed synth-fury. Meanwhile, Reebok Pumps-wearing, haircut aficionados will have no trouble sweating to the heat of the club-ready duo Juiceboxxx. And what fun would life be without the bouncing electro-chanting of the always-exciting Brazilian troupe CSS? Exactly.

Beach House
05/12 Atlanta, GA: The Earl
05/13 Nashville, TN: The Basement
05/14 Memphis, TN: Hi-Tone
05/16 Baton Rouge, LA: Spanish Moon
05/17 Houston, TX: Walters on Washington
05/18 Denton, OH: Hailey’s
05/19 Austin, TX: Emo’s
05/21 Tempe, AZ: Modified
05/22 San Diego, CA: Casbah
05/24 Los Angeles, CA: Knitting Factory
05/25 Visalia, CA: Howie and Son’s
05/26 San Francisco, CA: Great American Music Hall
05/27 Portland, OR: Doug Fir
05/28 Seattle, WA: Crocodile Cafe
05/31 Minneapolis, MN: 400 Bar
06/01 Madison, WI: High Noon
06/02 Chicago, IL: Subterranean
06/03 Detroit, MI: Magic Stick
06/04 Toronto, ON: El Mocambo
06/06 Montreal, QC: Club Lambi
06/08 New York, NY: Bowery Ballroom
06/09 Boston, MA: Museum of Fine Arts
07/10 London, UK: Royal Festival Hall

Attractive and Popular
05/25 Lake Charles, LA: Rikenjak’s
05/26 New Orleans, LA: High Ground
05/27 Pensacola, FL: Sluggo’s
05/28 Tampa, FL: Transitions Art Gallery
05/29 Daytona Beach, FL: Coffee Connection
05/30 Tallahassee, FL: The Beta Bar
05/31 Mobile, AL: Cell Block
06/02 Athens, GA: The Secret Squirrel
06/03 Columbia, SC: New Brookland Tavern
06/04 Greenville, NC: Spazzatorium Galleria
06/05 Chapel Hill, NC: The Nightlight
06/06 Richmond, VA: Alley Katz
06/07 Washington, DC: Warehouse Next Door
06/08 Philadelphia, PA @ Danger! Danger!

Juiceboxxx
05/08 Detroit, MI: Trumbullplex
05/09 Bloomington, IN: Art Hospital
05/10 Chicago, IL: People Project
05/11 Milwaukee, WI: Darling Hall
05/12 Saint Paul, MN: 1st Amendment Arts
05/14 Milwaukee, WI: Cactus Club
05/17 New York, NY: Eyebeam
05/25 Decatur, GA: Decatur Social Club
06/16 Los Angeles, CA: Echoplex
06/17 Los Angeles, CA: The Smell
06/18 Los Angeles, CA: Pehrspace
06/20 Los Angeles, CA: The Echo
06/22 San Francisco, CA: 222 Club
07/13 Milwaukee, WI: MOCT

CSS
06/06 Quebec City, QC: Dagobert
06/07 Montreal, QC: The Academy Club
06/08 Ottawa, ON: Babylon
06/09 Toronto, ON: The Drake
06/11 San Diego, CA: Casbah
06/12 Hollywood, CA: Cinespace
06/14 Austin, TX: Beauty Bar
06/22 Brooklyn, NY: Studio B
07/05 Orlando, FL: The Club at Firestone
07/15 Orlando, FL: Empty Bottle

Alias “What You Gave Away (Remix for The One AM Radio)”

anticon.’s veteran producer Alias has already established himself as one of the most innovative beatmakers in the indie hip-hop circuit. After killing it with supergroup Deep Puddle Dynamics and producing a majority of his labelmates work, Alias has stepped out of the anticon. box with this collection of remixes. Chopping up sensitive men like The One AM Radio and John Vanderslice, this studio savant has officially advanced his eclectic production visionquest.

Alias – What You Gave Away (Remix for The One AM Radio)

DJ Jazzy Jeff The Return of the Magnificent

Known for the transformer scratch as well as his work with Will “Fresh Prince” Smith, DJ Jazzy Jeff’s Hall of Famer credentials were sewn up 15 years ago. On the follow-up to his now-classic solo album The Magnificent, Jazzy again eschews an overly commercial aesthetic, hooks up some fresh-ta-deth tracks, and adds to his already legendary stature. Whether working with well-known artists (Posdnuos, Method Man, Jean Grae, CL Smooth, Big Daddy Kane, Raheem DeVaughn) or relative newcomers (Twone Gabz, ChinahBlac, Peedi Peedi, Rhymefest), Jazzy keeps the quality factor high, infusing each track with just the right amount of musical sensibility. More flavorful than a cheesesteak with extra peppers, this one lives up to its title.

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